CHIALE FINE ART at BRAFA 2021

1 février 2021

CHIALE FINE ART at BRAFA 2021

Chiale_GeronimoDAuria(Napolidoc

Geronimo D’Auria (Napoli, active 1573-1616) and Salvatore Caccavello (Napoli, active circa 1535-1578), Società Caccavello-D’Auria, La consegna delle chiavi and La parabola del buon pastore. Carved walnut, Napoli, circa 1570-80,61.5 x 47 cm. Price: € 45,000. CHIALE FINE ART at BRAFA 2021.

Provenance: private collection, Paris.

The two panels, carved in high relief with scenes from the life of Christ set in suggestive architectural scenarios, were originally part of a vast figurative cycle intended for the benches of a choir or, more plausibly, for the compartments of a monumental sacristy wardrobe, such as the one that still kept in the church of the Santissima Annunziata in Naples. An apparatus composed of 29 stories of the Life of Christ interspersed with 16 figures between Saints and Prophets, made in two distinct phases: one that saw the participation between 1545 and 1558 of Giovanni da Nola and his workshop, a subsequent , between 1577 and 1580, in which the versatile sculptors Geronimo D'Auria and Salvatore Caccavello, authors of twelve New Testament stories and six Prophets were involved. Our two reliefs are stylistically linked to this second phase dominated by the artistic society Caccavello-D’Auria, to which some of the main Neapolitan commissions in the field of sculpture in wood and marble can be traced back to 1577. It is likely that the two stories in question were part of a sculptural complex completely similar to that of the Annunziata in Naples, unfortunately now lost.

Chiale_Crucifix__T637413719151235162

Chiale_Crucifix__T637413719151235333

Crucifix, Spain, circa 1380-1430. Carved and painted walnut. H 110 x W 89 x D 20 cm. Price: € 35,000. CHIALE FINE ART at BRAFA 2021.

Provenance: private collection, France.

Chiale_ThemarriageoftheVirgin__T637435300249349068

The marriage of the Virgin, Lombardy, circa 1806. Wax bas-relief painted, H 53.3 x W 40.6 cm. Price: € 35,000. CHIALE FINE ART at BRAFA 2021.

A possible gift of Napoleon I to Eugène de Beauharnais in 1806 for his wedding with Augusta of Bavaria.

Provenance: probably Eugène de Beauharnais collection, XIX century; Mr. Raoul Torentino, sold American Art Galleries, New York, 21-27 April 1920, lot 873.

Chiale_OpeningoftheAccademiaClementina-KnigthlyjoustinginSanPetroniosquareinBologna__T637435304805514030

Alessandro Piazza (Italy, active 1665-1727). Pair of paintings: Opening of the Accademia Clementina and Knigthly jousting in San Petronio square in Bologna, Bologna, 1710. Oil on canvas, H 66 x W 80 cm (each painting). Dated at upper left side ‘1710’. CHIALE FINE ART at BRAFA 2021.

Provenance: private collection, Turin, Italy.

Chiale_Stilllife__T637435307466053638

Octavianus Montfort (Italy, 1646-1696), Still life, Turin, circa 1680-85. Tempera on vellum, H 40 x W 52 cm. Price: € 35,000. CHIALE FINE ART at BRAFA 2021.

Provenance: Kerbastick Castle, Lanvin-Polignac collection, France.

This painting, which represents the highest quality of Monfort production, reflects the scrolls in which the artist prefers a Still Life with more fruits, to symbolize abundance, the wealth of art. The remarkable quality of execution and setting a harmonious whole with detailed attention to the colors of each fruit related to create a color balance of the whole work.

The beautiful ultramarine blue vase falls in the foreground of a beautiful pink painted with delicate brush strokes. A wonderful variety of fruits including cherries, pears, apricots and lazzeruoli. We can recognize a hibiscus flower blue and a beautiful rose. Drs. Arabella Cifani defines: '...This beautiful miniature, is an original work of Monfort and is comparable with specific references to other artist’s works'.
She adds: 'The parchement has strong references in his very fine grained with coloristic works by Giovanna Garzoni'.

Chiale_Consolle__T637435311026893150

Chiale_Consolle__T637435311026893367

Console, Royal Palace Workshop, Turin, circa 1755-1760. Carved and gilded poplar with top marble, H 90 x W 84 x D 62 cm. Price: € 90,000. CHIALE FINE ART at BRAFA 2021

Provenance: private collection, Turin, Italy

Literature: Vittorio Viale, Mostra del barocco piemontese. Mobili ed intagli, Turin, 1963, tav. 69; Roberto Antonetto, Il mobile piemontese nel Settecento. Vol. II, Turin, 2010, p. 217, n° 22

Exceptional wall console, with four cross legs, streamlined and elegant in shape.
The wood has been inlaid with exquisite workmanship and worked with two types of gold, ‘shiny gold leaf’ and ‘dull gold leaf to give a depth and accentuate the richness of the engraving.

The extraordinary rococò decoration of Palazzo Reale and Palazzo Carignano is perfectly evident in this console, in particular in the spirals and rippling flowers on the leg tops. Other exceptional features are the leaves under the table and the large flower at the crossover of the legs.

The elegant, flowing line of the legs is accompanied by an amazing expressive force and the quality of the inlay; multiple spirals, flowers, leaves, vegetation stylings and a beautifully elegant curl, which bring to mind the best works of the greatest Piedmontese wood engravers like Piffetti, create a unique whole of the best quality.
The top of the console is closed by a small Greek fret typical of Louis XV in which the marble is slotted, this too being of exquisite manufacture.

Chiale_Table__T637435314411410619

Joseph Effner (Dachau 1687-1745 Munich), Table. Carved, painted and gilded poplar. H 74 x W 53 x D 74 cm. Price: € 26,000. CHIALE FINE ART at BRAFA 2021.

Provenance: private collection, New York, USA

Joseph whose spelling was originally Öffnercomes from an old family of gardeners. He was the ninth of ten children of Christian Öffner, master court gardener since 1668. He entered the graces of Prince Elector Maximilian II Emmanuel of Bavaria, who brought him as a gardener with him in April 1706, in Brussels; and he later sent him to Paris where he discovered his interest in architecture. In 1708 Joseph Effner entered the workshop of the great French architect Germain Boffrand where he learned French style and received training as a builder. He later entered as a private student in the prestigious Académie royale d’architecture. From that moment he changed his surname into Effner.

On 1 April 1715, after his return from France, he was appointed architect of the Bavarian court, responsible for all the buildings of the elector prince, together with Enrico Zuccalli. Joseph Effner was a importer from France of innovative ideas in architecture and rococo style. In 1717 Massimiliano II Emanuele sent him to Italy for a ten-week trip between Venice, Rome and Naples. In 1720 he was appointed Superintendent and in 1724, with the death of Zuccalli, he obtained even more powers.

However, in 1726, with the ascent to the throne of Charles VII of Bavaria, Joseph Effner had to give way to his pupil François de Cuvilliés the Elder, working only in the administration. He died in Munich in 1745 and his stone tomb is in the Frauenkirche choir. The Effnerplatz in Munich and the Josef-Effner-Gymnasium in Dachau are dedicated to him.

The cabinet, from the center follows that type of lacquered furniture made in Europe in the eighteenth century. In red lacquer it is garnished in the parts carved with gold leaf following the technique of the mission. The legs are elegant and sinuous and end with an elegant curl on the feet and a volute in gold in the central part that 'divides' the leg. The crosspieces end with a rosette in the center with plant styles carved in the central and side, also gilded.

The elegant cabinet is part of that production of furniture made in southern Germany and in particular in Bavaria, where lacquered furniture was a compendium of fashionable furniture within the noble society.

A similar example of this fashion is the Pagadenbour at the castle of Nynphenbourg, Bavaria. The central hall, which is decorated with fresh Chinese porcelain, is furnished with ivory lacquer furniture with sculptures painted in Prussian blue. The entire pagoda, including the furnishings, was designed by the architect Joseph Effner, who also took care of designing the furniture. The central table follows the same model and line as this cabinet so as to be attributable to the Effner’s hand; the similarity is such that even the shop in which it was executed is the same as the pagodenbourg itself, with the difference that the cabinet in question has a decoration embellished by the highlights in gold.

Alessandro & Federico Chiale. Via Stefano Tempia 22 | IT-12035 Racconigi. t. +39 01 728 52 84 | m. +39 339 798 78 01 - info@chialefineart.com | www.chialefineart.com